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Books > Arts & Architecture > Photography & photographs > General
Adobe Illustrator: A Complete Course and Compendium of Features is
your guide to building vector graphics, whether you're creating
logos, icons, drawings, typography, or other illustrations--and
regardless of their destination: print, web, video, or mobile.
First, with a complete Course that includes a set of projects and
lessons derived from Adobe Certified Instructor Jason Hoppe, you
will learn the procedures needed to use Illustrator effectively and
professionally. Dozens of lessons are included that can be applied
to any graphics you have in mind. Through these step-by-step
lessons, you'll be exposed to all of Illustrator's features in
practical contexts and its best practices for optimal workflows. To
complete the Course, we'll supply lesson documents and their assets
to download. These can even serve as starting points for your own
projects. Then, for greater depth of knowledge and subsequent
reference, you'll use the Compendium to uncover more of the "how"
and "why" of Illustrator. With each topic easy to access, you can
find and explore all of Illustrator's key features and concepts in
depth. With cross references between the Course and Compendium, the
two parts of the book complement each other perfectly. Best of all,
when the lessons in the Course are done, the Compendium will
continue to serve for months and years to come. Learn step by step
how to: - Draw basic shapes and lines - Build graphics using
Illustrator's deep and diverse toolset - Create complex icons using
the Pathfinder and Shape Builder - Use color with predictable and
harmonic results - Work effectively with type - And much more!
Polymer Photogravure: A Step-by-Step Manual Highlighting Artists
and Their Creative Practice is a three-part book on the non-toxic
process of making ink-on-paper intaglio prints from continuous-tone
photographs using water-etched photopolymer plates. Author Clay
Harmon provides clear and easy to understand instructions that will
enable anyone to successfully make a photogravure print. By
quantifying the sensitometric behavior of polymer plates, Harmon
has developed a methodical approach which will enable a new
printmaker to produce plates in their own studio with a minimum of
time and wasted materials. Section One provides a straightforward
guide to setting up the polymer photogravure studio. Section Two
covers a step-by-step method of making the print from start to
finish. Section Three showcases contemporary artists' works,
illustrating the variety and artistic breadth of contemporary
polymer intaglio printmaking. The works in these pages range from
monochrome to full color, and represent a variety of genres,
including still lifes, portraits, nudes, landscapes, urban-scapes
and more. Featuring over 30 artists and 200 full-color images,
Polymer Photogravure is a most comprehensive overview of this
printmaking process in print. Key topics covered include: Studio
safety Equipment and supplies, evaluated from both a cost and
utility point of view A brief discussion of the types of ink-based
printing Aquatint screen considerations Image preparation and
positive printing on inkjet printers Paper preparation A simple and
efficient polymer plate calibration process that minimizes wasted
time and materials A straightforward inking, wiping and printing
method Advanced printing techniques such as chine colle, a la
poupee, and printing on wood Troubleshooting guide to platemaking
and printing problems Tips on editioning and portfolios A visual
survey of the range of artistic expression practiced by
contemporary artists Sources for supplies and recommended reading
Polymer photogravure plates enable an artist to use an
almost-infinite range of image color and papers to make a print.
The finished prints are extremely archival, consisting of only ink
and paper. With Harmon's instructions, continuous tone intaglio
prints are within the reach of all.
Recent decades have seen a flourishing interest in and speculation
about the origins of photography. Spurred by rediscoveries of
'first' photographs and proclamations of photography's death in the
digital age, scholars have been rethinking who and what invented
the medium. Photography and Its Origins reflects on this interest
in photography's beginnings by reframing it in critical and
specifically historiographical terms. How and why do we write about
the origins of the medium? Whom or what do we rely on to construct
those narratives? What's at stake in choosing to tell stories of
photography's genesis in one way or another? And what kind of work
can those stories do? Edited by Tanya Sheehan and Andres Mario
Zervigon, this collection of 16 original essays, illustrated with
32 colour images, showcases prominent and emerging voices in the
field of photography studies. Their research cuts across
disciplines and methodologies, shedding new light on old questions
about histories and their writing. Photography and Its Origins will
serve as a valuable resource for students and scholars in art
history, visual and media studies, and the history of science and
technology.
Learn to train your eye and improve your timing in order to capture
the decisive moment! Whether it's due to social media or the
introduction of great rangefinder-style digital cameras over a
decade ago, street photography has experienced a remarkable
resurgence in recent years. You can be roaming the streets of a
classic urban environment (New York, Paris, Tokyo) or on a simple
photo walk around a quiet neighborhood--it has never been more
popular to pursue the art of capturing those candid, fleeting
moments that happen throughout the day, of freezing a moment in
time and transforming the ordinary into an extraordinary
photograph. But learning to see light and moment, to make quick
decisions, and to nail a photographic composition are all crucial
skills you must master in order to become a good street
photographer. Photographer, instructor, and author Valerie Jardin
has been teaching photographers how to take better photographs for
years, and in Street Photography Assignments: 75 Reasons to Hit the
Streets and Learn, she provides dozens of prompts for you to
practice in order to refine and improve your craft. These
activities focus on themes such as: - Street portraits - Gesture -
Shadows - Silhouettes - Rim light - Humor - Abstract - Tension -
Motion - Reflections - Leading lines - Creative framing -
Juxtapositions - Double exposures - And much, much more! Each
assignment includes a description of the technique, various tips
and tricks to practice, technical and compositional considerations,
and an example photo that Jardin has captured when practicing the
same exercise. Whether you have 30 minutes or 3 hours, each
assignment is an opportunity for you to take your camera and hit
the streets. No more excuses!
This work includes a book and 4 CDs. This is the publication in the
Handel festival year 2009! Georg Friedrich Handel is undoubtedly
one of the most distinguished baroque composers. Over the
centuries, his works have always ranked very highly in popularity
ratings. Whether it is the "Water Music" or his "Messiah", Handel
has set the benchmark in all categories of music. In this
"earBOOK", author Detmar Huchting presents the biography of this
great composer. Music CDs: This work contains four CDs that offer a
representative cross-section of Handel's creative works. Renowned
artists like Peter Schreier, Theo Adam or Reiner Susz and the
orchestra as well as the chamber orchestra 'Carl Philipp Emanuel
Bach' guarantee top-class performances.
Meaning in the visual arts centers on how the physical work makes
its content or presence visible. The art object is fundamental.
Indeed, the different object forms of each visual medium allows our
experience of space-time, and our relations to other people, to be
aesthetically embodied in unique ways. Through these embodiments,
visual art compensates for what is otherwise existentially lost,
and becomes part of what makes life worth living. The present book
shows this by discussing a range of visual art forms, namely
pictorial representation, abstraction, sculpture and assemblage
works, land art, architecture, photography, and varieties of
digital art.
Sebastiao Salgado traveled the Brazilian Amazon and photographed
the unparalleled beauty of this extraordinary region for six years:
the forest, the rivers, the mountains, the people who live there-an
irreplaceable treasure of humanity. In the book's foreword Salgado
writes: "For me, it is the last frontier, a mysterious universe of
its own, where the immense power of nature can be felt as nowhere
else on earth. Here is a forest stretching to infinity that
contains one-tenth of all living plant and animal species, the
world's largest single natural laboratory." Salgado visited a dozen
indigenous tribes that exist in small communities scattered across
the largest tropical rainforest in the world. He documented the
daily life of the Yanomami, the Ashaninka, the Yawanawa, the
Suruwaha, the Zo'e, the Kuikuro, the Waura, the Kamayura, the
Korubo, the Marubo, the Awa, and the Macuxi-their warm family
bonds, their hunting and fishing, the manner in which they prepare
and share meals, their marvelous talent for painting their faces
and bodies, the significance of their shamans, and their dances and
rituals. Sebastiao Salgado has dedicated this book to the
indigenous peoples of Brazil's Amazon region: "My wish, with all my
heart, with all my energy, with all the passion I possess, is that
in 50 years' time this book will not resemble a record of a lost
world. Amazonia must live on." INSTITUTO TERRA Founded in 1998 at
Aimores in the state of Minas Gerais, Instituto Terra is the
culmination of Lelia Wanick Salgado and Sebastiao Salgado's
lifelong activism and work as cultural documentarians. Through a
scientific program of planting and raising saplings, the
organization has performed a miraculous reforestation of the once
infertile region and furthered the Salgados' mission of reversing
the damage done to our planet. TASCHEN is proud to reach carbon
zero status through our continued partnership. Also available in a
Collector's Edition and four Art Editions, each with a signed
silver gelatin print, all with a book stand designed by Renzo
Piano.
One of the most captivating and provocative artists of the
Sensation generation, Richard Billingham (b. 1970) came to
prominence in the late 1990s with his visceral photobook Ray's a
Laugh, a slice of everyday life in a high-rise sink estate in the
British West Midlands. This book is the first comprehensive
discussion of Billingham's art practice. Articulating the
socio-historical, aesthetic, geographical as well as
anthropological aspects of Billingham's art, the book situates his
work within the British neorealist tradition in visual art, cinema
and televisual culture. Beginning with the first photographic
studies of his father in the early 1990s, Cashell argues that these
sympathetic, haunting images prefigure the later development of his
thematic concerns. Significant consideration is also given to
Billingham's cinematic oeuvre, including his recent feature-length
autobiographical film, Ray & Liz, which substantially clarifies
the complex continuity of his developing aesthetic vision.
Illustrated throughout with colour and black and white
reproductions, Photographic Realism: The Art of Richard Billingham
combines investigative research with interviews and studio
conversations, providing a subtle and sophisticated critical
evaluation of the artist's key photographic and film-based works
from the 1990s to the present.
Now in its sixth edition, this seminal textbook examines key
debates in photographic theory and places them in their social and
political contexts. Written especially for students in further and
higher education and for introductory college courses, it provides
a coherent introduction to the nature of photographic seeing.
Individual chapters cover: * Key debates in photographic theory and
history * Documentary photography and photojournalism * Personal
and popular photography * Photography and the human body *
Photography and commodity culture * Photography as art. This
revised and updated edition includes new case studies on topics
such as: Black Lives Matter and the racialised body; the #MeToo
movement; materialism and embodiment; nation branding; and an
extended critical discussion of landscape as genre. Illustrated
with over 100 colour and black and white photographs, it features
work from Bill Brandt, Susan Derges, Rineke Dijkstra, Fran
Herbello, Hannah Hoech, Mari Katayama, Sant Khalsa, Karen Knorr,
Dorothea Lange, Susan Meiselas, Lee Miller, Ingrid Pollard, Jacob
Riis, Alexander Rodchenko, Andres Serrano, Cindy Sherman and Jeff
Wall. A fully updated resource information, including guides to
public archives and useful websites, full glossary of terms and a
comprehensive bibliography, plus additional resources at
routledgetextbooks.com/textbooks/9780367222758/ make this an ideal
introduction to the field.
'The most original and illuminating study of the subject.' The New
Yorker Photographs are everywhere. From high art to family albums
to legal evidence, they capture and document the world around us.
And whether we use them to expose, reveal or remember, they hold an
enduring power. In this essential and revelatory volume, Susan
Sontag confronts important questions surrounding the power dynamics
between photographer and subject, the blurred boundary between
lived events and recreated images, and the desires that lead us to
record our lives. 'Complex and contradictory... one of America's
greatest public intellectuals' Observer 'Susan Sontag offers enough
food for thought to satisfy the most intellectual of appetites.'
The Times 'A brilliant analysis of the profound changes
photographic images have had in our way of looking at the world,
and at ourselves, over the years.' Washington Post
Captured by the Sea is a collection of photographs that documents
the intersection of people and coastal environments around the
world. Jessica Cantlin works as a silent observer of human
behavior, discreetly telling the story of the people and landscapes
that she photographs. Cantlin studies color, texture, facial
expressions, and body language, bringing significance to
spontaneous and fleeting moments. It is the juxtaposition of these
details, woven into the layers of Cantlin's photographs, that makes
them transportive. "Captured by the Sea" is by no means the first
book of beach photography to hit the market. However, by focusing
on people and culture, instead of a row of pretty umbrellas,
Cantlin conveys that beach culture is not defined by class, race,
or age, but is something that draws on everyone, and is unifying in
its ritual. At some point, we are all captured by the sea.
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Crickets
(Hardcover)
Laurence Kubski
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R394
R337
Discovery Miles 3 370
Save R57 (14%)
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Ships in 12 - 17 working days
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Polymer Photogravure: A Step-by-Step Manual Highlighting Artists
and Their Creative Practice is a three-part book on the non-toxic
process of making ink-on-paper intaglio prints from continuous-tone
photographs using water-etched photopolymer plates. Author Clay
Harmon provides clear and easy to understand instructions that will
enable anyone to successfully make a photogravure print. By
quantifying the sensitometric behavior of polymer plates, Harmon
has developed a methodical approach which will enable a new
printmaker to produce plates in their own studio with a minimum of
time and wasted materials. Section One provides a straightforward
guide to setting up the polymer photogravure studio. Section Two
covers a step-by-step method of making the print from start to
finish. Section Three showcases contemporary artists' works,
illustrating the variety and artistic breadth of contemporary
polymer intaglio printmaking. The works in these pages range from
monochrome to full color, and represent a variety of genres,
including still lifes, portraits, nudes, landscapes, urban-scapes
and more. Featuring over 30 artists and 200 full-color images,
Polymer Photogravure is a most comprehensive overview of this
printmaking process in print. Key topics covered include: Studio
safety Equipment and supplies, evaluated from both a cost and
utility point of view A brief discussion of the types of ink-based
printing Aquatint screen considerations Image preparation and
positive printing on inkjet printers Paper preparation A simple and
efficient polymer plate calibration process that minimizes wasted
time and materials A straightforward inking, wiping and printing
method Advanced printing techniques such as chine colle, a la
poupee, and printing on wood Troubleshooting guide to platemaking
and printing problems Tips on editioning and portfolios A visual
survey of the range of artistic expression practiced by
contemporary artists Sources for supplies and recommended reading
Polymer photogravure plates enable an artist to use an
almost-infinite range of image color and papers to make a print.
The finished prints are extremely archival, consisting of only ink
and paper. With Harmon's instructions, continuous tone intaglio
prints are within the reach of all.
"The Memory of My Wardrobe," a project by Finnish photographer Ida
Taavitsainen, explores the personal narratives given to clothing
inherited or simply handed down to her by her family. Over the
years, she acquired a lot of clothes, many once belonging to people
she never knew--her great-great-grandmother, for instance--but all
with family ties. The clothes interested her: What were their
histories? What had they gone through before she started wearing
them? What stories do a ripped seam or the faded color of a fabric
tell? Here, her care-fully composed still-life photographs and
brief anecdotes tell a charming tale--a family album full of
stories but without people.
Following on from its hugely successful first edition, The
Photography Reader: History and Theory provides deeper insight into
the critical discussions around photography - its production, its
uses and its effects. Presenting both the historical ideas and the
continuing theoretical debates within photography and photographic
study, this second edition contains essays by photographers
including Edward Weston and Laszlo Moholy-Nagy, and key thinkers
such as Walter Benjamin, Roland Barthes and Susan Sontag. Along
with its companion text - The Photography Cultures Reader:
Representation, Agency and Identity - this is the most
comprehensive introduction to photography and photographic
criticism. This new edition features: * Over 50 additional
photographs * New essays from photographers and academics * Revised
introductions, setting ideas and debates in their historical and
theoretical context * Sections on Art photography, Documentary and
Photomedia. Includes essays by: Jan Baetens, Roland Barthes,
Geoffrey Batchen, David Bate, Andre Bazin, Walter Benjamin, Lynn
Berger, Matthew Biro, Osip Brik, Victor Burgin, Hubert Damisch,
Edmundo Desnoes, Umberto Eco, Elizabeth Edwards, Steve Edwards,
Andy Grundberg, Lisa Henderson, Estelle Jussim, Sarah Kember,
Siegfried Kracauer, Rosalind Krauss, Martin Lister, Lev Manovich,
Christian Metz, W. J. T. Mitchell, Tina Modotti, Laszlo
Moholy-Nagy, Wright Morris, Darren Newbury, Daniel Palmer, Marjorie
Perloff, Fred Ritchin, Martha Rosler, Steven Skopik, Abigail
Solomon-Godeau, Susan Sontag, Lucy Soutter, John Szarkowski, John
Tagg, Hilde Van Gelder, Ian Walker, Liz Wells, Edward Weston, Peter
Wollen.
An outstanding image consists of more than just acceptable exposure
and sharp focus - the two components that most photography
instruction emphasize. A fascinating subject doesn't necessarily
result in a good image, and likewise, it's possible to create an
impressive image from a mundane subject. How do you capture that
perfect image, and more importantly, what makes it great? That's
where this book comes in. Rather than wasting time trying one
approach after another until something seems right or memorizing a
list of rules, discover a new, more comprehensive and yet intuitive
way to think about photography and see the world around you by
using visual intensity. The quality of your imagery and the speed
of your workflow will both vastly improve once you are able to use
these techniques to articulate why you prefer one image to another.
Mother and son team Ellen and Josh Anon have spent years perfecting
their visual intensity based approach to composition, and in this
gorgeous, full color guide, they'll share their techniques with you
so that your overall photographic experience, both in terms of time
investment and quality of output, will become far more satisfying.
This book is a compilation of interviews and essays that cover a
broad range of photographers and photographic disciplines. Each
photographer profiled made a living by concentrating on a specific
aspect of the craft, but in doing so transcended their livelihood
to become recognized for more than the type of images they created.
Each had a distinct "style," creative approach, dedication to the
craft, point of view about themselves and the world. These
interviews were conducted during a seminal period in the shift from
film to digital and from print reproduction to global distribution
on the Internet. Just like their photographs continue to inspire
today, now these pros' words can live on as an invaluable reference
for the photographers of the future. The truth and wisdom in this
collection transcend time and technology.
The before-and-after trope in photography has long paired images to
represent change: whether affirmatively, as in the results of
makeovers, social reforms or medical interventions, or negatively,
in the destruction of the environment by the impacts of war or
natural disasters. This interdisciplinary, multi-authored volume
examines the central but almost unspoken position of
before-and-after photography found in a wide range of contexts from
the 19th century through to the present. Packed with case studies
that explore the conceptual implications of these images, the
book's rich language of evidence, documentation and persuasion
present both historical material and the work of practicing
photographers who have deployed - and challenged - the conventions
of the before-and-after pairing. Touching on issues including
sexuality, race, environmental change and criminality,
Before-and-After Photography examines major topics of current
debate in the critique of photography in an accessible way to allow
students and scholars to explore the rich conceptual issues around
photography's relationship with time andimagination.
James Ravilious (1939-1999) trained as an artist, like his father
Eric, but a Cartier-Bresson exhibition converted him to
photography, which he taught himself. In 1972, a move to his wife
Robin's homeland - a very rural, unspoilt part of North Devon -
inspired him. It also produced the perfect job: recording daily
life in that traditional bit of old England before it was
modernised. He devoted himself to this for more than seventeen
years. The results, over 75,000 black and white negatives in the
Beaford Archive, form what Barry Lane, Secretary General of the
Royal Photographic Society, called `a unique body of work,
unparalleled at least in this country for its scale and quality'
James was a friendly, modest man with a very unintrusive approach.
Because of this, and because of the length of the project, he was
able to make a uniquely detailed portrait, intimate and
sympathetic, of a whole way of life in one small piece of
countryside: its landscapes, its seasons, its people, their
hardships and their pleasures. His respect for his subjects is
manifest in his work. He never sentimentalised their lives. It was
vital to him that his record should be completely honest. But it is
not merely social history. It is also the work of someone who
composed with the eye of an artist, and who often looked at his
world with artists such as Breughel, Claude Lorrain, Thomas Bewick
and Samuel Palmer in mind.
Jermyn Street in St James's, London, has been the Mecca of fine
British shirtmaking for more than a century. Patrons have included
Cary Grant, Frank Sinatra, Roger Moore, the Beatles, Warren Beatty,
Pierce Brosnan, the Prince of Wales, Sir Michael Caine and Ronald
Reagan. Between them, these shirtmaking artisans have styled that
most debonair of onscreen heroes, James Bond. Indeed, the Jermyn
Street shirt is the ultimate in entry-level luxury menswear. For
many years seen as a stuffy and elitist institution, the advent of
Instagram has seen the doors to the world's finest shirtmakers
blown open as tailoring enthusiasts come together to share their
passion. The Jermyn Street Shirt includes a wealth of sartorial
showbusiness anecdotes as well as style tips from some of the big
screen's most dapper stars. With unique access to many of the
makers, including Turnbull & Asser, Hilditch & Key and
Budd, Jonathan Sothcott presents an expertly curated pictorial
treasure trove of previously unseen ephemera, including celebrity
shirt patterns and samples.
Photography, both in the form of contemporary practice and that of
historical material, now occupies a significant place in the
citadels of Western art culture. It has an institutional network of
its own, embedded within the broader art world, with its own
specialists including critics, curators, collectors, dealers and
conservators. All of this cultural activity consolidates an
artistic practice and critical discourse of photography that
distinguishes what is increasingly termed 'art photography' from
its commercial, scientific and amateur guises. But this
long-awaited recognition of photography as high art brings new
challenges. How will photography's newly privileged place in the
art world affect how the history of creative photography is
written? Modernist claims for the medium as having an aesthetic
often turned on precedents from painting. Postmodernism challenged
a cultural hierarchy organized around painting. Nineteenth-century
photographs move between the symbolic spaces of the gallery wall
and the archive: de-contextualized for art and re-contextualized
for history. But what of the contemporary writings, images, and
practices that negotiated an aesthetic status for 'the
photographic'? Photography and the Arts revisits practices both
celebrated and elided by the modernist and postmodernist grand
narratives of art and photographic history in order to open up new
critical spaces. Written by leading scholars in the fields of
photography, art and literature, the book examines the metaphorical
as well as the material exchanges between photography and the fine,
graphic, reproductive and sculptural arts.
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